Klezmer Book Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of Klezmer Book book. This book definitely worth reading, it is an incredibly well-written.
Another great addition to the Avrahm Galper Clarinet Series, here Avrahm presents 42 fantastic Klezmer tunes to add to your repertoire. All arranged for clarinet and B-Flat instruments in easy to read notation, all on single pages to avoid awkward page turns. Intermediate in difficulty.
Klezmer: Music, History, and Memory is the first comprehensive study of the musical structure and social history of klezmer music, the music of the Jewish musicians' guild of Eastern Europe. Emerging in 16th century Prague, the klezmer became a central cultural feature of the largest transnational Jewish community of modern times - the Ashkenazim of Eastern Europe. Much of the musical and choreographic history of the Ashkenazim is embedded in the klezmer repertoire, which functioned as a kind of non-verbal communal memory. The complex of speech, dance, and musical gesture is deeply rooted in Jewish expressive culture, and reached its highest development in Eastern Europe. Klezmer: Music, History, and Memory reveals the artistic transformations of the liturgy of the Ashkenazic synagogue in klezmer wedding melodies, and presents the most extended study available in any language of the relationship of Jewish dance to the rich and varied klezmer music of Eastern Europe. Author Walter Zev Feldman expertly examines the major written sources--principally in Russian, Yiddish, Hebrew, and Romanian--from the 16th to the 20th centuries. He draws upon the foundational notated collections of the late Tsarist and early Soviet periods, as well as rare cantorial and klezmer manuscripts from the late 18th to the early 20th centuries. He has conducted interviews with authoritative European-born klezmorim over a period of more than thirty years, in America, Europe, and Israel. Thus, his analysis reveals both the musical and cultural systems underlying the klezmer music of Eastern Europe.
Klezmer!: Jewish Music from Old World to Our World by Henry Sapoznik Pdf
Klezmer! is the fascinating story of survival against the odds, of a musical legacy so potent it can still be heard dispite assimilation and near annihilation. The scratchy, distant sound of the early recordings discovered and studied by Henry Sapoznik have formed a soundtrack for an entirely new generation of performers.
Klezmer is a continually evolving musical tradition that grows out of Eastern European Jewish culture, and its changes reflect Jews' interaction with other groups as well as their shifting relations to their own history. But what happens when, in the klezmer spirit, the performances that go into the making of Jewishness come into contact with those that build different forms of cultural identity? Jonathan Freedman argues that terms central to the Jewish experience in America, notions like "the immigrant," the "ethnic," and even the "model minority," have worked and continue to intertwine the Jewish-American with the experiences, histories, and imaginative productions of Latinos, Asians, African Americans, and gays and lesbians, among others. He traces these relationships in a number of arenas: the crossover between jazz and klezmer and its consequences in Philip Roth's The Human Stain; the relationship between Jewishness and queer identity in Tony Kushner's Angels in America; fictions concerning crypto-Jews in Cuba and the Mexican-American borderland; the connection between Jews and Christian apocalyptic narratives; stories of "new immigrants" by Bharathi Mukherjee, Gish Jen, Lan Samantha Chang, and Gary Shteyngart; and the revisionary relation of these authors to the classic Jewish American immigrant narratives of Henry Roth, Bernard Malamud, and Saul Bellow. By interrogating the fraught and multidimensional uses of Jews, Judaism, and Jewishness, Freedman deepens our understanding of ethnoracial complexities.
Benny Feldman's All-Star Klezmer Band by Allison Marks,Wayne Marks Pdf
Eleven-year-old Benny Feldman spends his days at Sieberling School obeying his number-one rule for surviving sixth grade: blend into the background. So when he signs up his klezmer band to play in the school talent show, his classmates are shocked. Teased by guitar superstar and former friend Jason Conroy, Benny vows to win the trophy and erase the embarrassing nickname that has haunted him since his disastrous debut performance in an first-grade Sabbath play. But, there is a problem. Benny Feldman's All-Star Klezmer Band is only a figment of Benny's imagination. He loves the traditional klezmer music of Eastern Europe, but how is he going to find other players to join him? With the show a few months away, Benny, an accomplished fiddler, embarks on a quest to assemble a band that will beat Jason's rock group at the talent show. His search takes him to an arcade convention, a potato chip factory, an oddities shop, and a storage room stacked with cans of creamed corn and succotash. Along the way he meets Jennifer, a jazz-loving drummer; Royce, a bow-tie-wearing clarinet prodigy; and Stuart, a braggart accordion player from Cajun Country. He also learns a great deal about the joys and sorrows that lie at the heart of klezmer and discovers that being different can be wonderful. Eventually, the ragtag and renamed "Klez Misfits" mount the stage and the tension-filled climax will have young readers wondering until the end if Benny and his band can pull off a miracle. This fun, feel-good story shows how friends, family, history and culture can all build confidence. Benny learns to believe in himself and has fun and finds love along the way.
"Klezmer" is a Yiddish word for professional folk instrumentalist-the flutist, fiddler, and bass player that made brides weep and guests dance at weddings throughout Jewish eastern Europe before the culture was destroyed in the Holocaust, silenced under Stalin, and lost out to assimilation in America. Klezmer music is now experiencing a tremendous new spurt of interest worldwide with both Jews and non-Jews recreating this restless volatile, and vibrant musical culture. Firmly centered in the United States, klezmer has paradoxically moved back across the Atlantic as a distinctly "American" music, played throughout central and eastern Europe, as well as in many other parts of the world. Fiddler on the Move places klezmer music squarely within American music studies, cultural studies, and ethnomusicology. Neither a chronology nor a comprehensive survey, the book describes a variety of approaches and perspectives for coming to terms with the highly diverse array of activities found under the klezmer umbrella. Bringing to his subject the insights of an accomplished ethnomusicologist, Slobin addresses such questions as: How does klezmer overlap with, and differ from, the many other contemporary "heritage" musics based on an assumed connection with a group identity and links to a tradition? How do economics, artistic expression, and the evocation of the past interact in motivating klezmer performers and audiences? In what kinds of environment does klezmer flourish? How do stylistic features such as genre, form, and ornamentation help to define the technique, affect, and aesthetic of klezmer? Featuring a music CD with many of the archival and contemporary recordings discussed in the text, this fascinating study will interest scholars, students, musicians, and music lovers
New York Klezmer in the Early Twentieth Century by Joel E. Rubin Pdf
The music of clarinetists Naftule Brandwein and Dave Tarras is iconic of American klezmer music. Their legacy has had an enduring impact on the development of the popular world music genre.
The original publications of the 1930s are scarcely to be found. The posthumous 1962 volume in the Soviet Union was limited to a tiny edition. Yet the work of the man who has been called "the foremost authority on Jewish folk music before the Holocaust," Moshe Beregovski, survives and is now available for the first time to the English-speaking world. As a member of the Jewish community as well as an ethnomusicologist in prewar Russia, Beregovski had not only the inspiration to preserve the spirit and vitality of the music that filled the lives of his people but also the professional training to document his findings to exacting standards. The first section of SIobin's book contains translations of some of Beregovski's responses to Jewish folk music in its living context during the 1930s. He raises important questions about ethnicity in his essay on interaction between Ukrainian and Jewish musical influences. His work on klezmer music. the music of the Jewish folk instrumental bands, is the most authoritative on the subject and includes his complete guide to fieldworkers in folk music. In another essay Beregovski analyzes an unmistakable trademark of Jewish folk music, the "altered Dorian" scale, and its symbolism in Eastern European Jewish culture. The second section constitutes Beregovski's anthologies of hundreds of folk songs with full Yiddish and English song texts. Each song is carefully notated exactly as it was sung and is accompanied by Beregovski's notes on origins and variants. Beregovski's essays and transcriptions form a pat and a symbol of what was lost in the mass destruction of Eastern European Jewish culture in this century. They form a cultural record of deep significance not only for the Jewish people, but also for folklorists and scholars as evidence of a distinctive music culture that interacted with—and influenced—the folk musics of Eastern Europe.
Shpil offers an expansive history of klezmer, from its medieval origins through the present era. Individual chapters concentrate on the most common instruments found in a typical klezmer ensemble: violin, clarinet, accordion, bass, percussion, and even voice. Contributors incl...
Klezmer is Yiddish music, the music of the Jews of Europe and America, a music of laughter and tears, of weddings and festivals, of dancing and prayer. Born in the Middle Ages, it came of age in the shtetl (the Eastern European Jewish country town), where "a wedding without klezmer is worse than a funeral without tears." Most of the European klezmorim (klezmer players) were murdered in the Holocaust; in the last 25 years, however, klezmer has been reborn, with dozens of groups, often mixing klezmer with jazz or rock, gaining large followings throughout the world. The Book of Klezmer traces the music's entire history, making use of extensive documentary material; interviews with forgotten klezmorim as well as luminaries such as Theodore Bikel, Leonard Nimoy, Joel Grey, Andy Statman, and John Zorn; and dozens of illuminating, stirring, and previously unpublished photographs.
Author Magdalena Waligorska offers not only a documentation of the klezmer revival in two of its European headquarters (Kraków and Berlin), but also an analysis of the Jewish / non-Jewish encounter it generates.
The Kugel Valley Klezmer Band by Joan Betty Stuchner Pdf
How Shira loves the fiddle! Every time the Kugel Valley Klezmer Band performs, ten-year-old Shira watches closely. Isaac, the best fiddle player this side of Nova Scotia, sees her watching, and gives her a toy fiddle. “Practice,” says Isaac. “Practice, practice, practice.” So, secretly, Shira practices; and soon she thinks she sounds pretty good. But is she good enough for a real fiddle? Good enough for the Kugel Valley Klezmer Band? Good enough for her whole village? Shira is about to find out!
It is an odd thing: a desire comes to me to write, and to write in my faltering mother tongue, which, as it happens, I have not spoken since I left the home of my parents. Far as my childhood years have receded from me, I now suddenly find them coming back to me, closer and closer to me, so near, they could be breathing into my mouth. I see myself so clearly a plump little thing, a tiny girl running all over the place, pushing my way from one door through another, hiding like a curled-up little worm with my feet up on our broad window sills. My father, my mother, the two grandmothers, my handsome grandfather, my own and outside families, the comfortable and the needy, weddings and funerals, our streets and gardens all this streams before my eyes like the deep waters of our Dvina. My old home is not there any more. Everything is gone, even dead. My father, may his prayers help us, has died. My mother is living and God alone knows whether she still lives in an un-Jewish city that Is quite alien to her. The children are scattered In this world and the other, some here, some there. But each of them, in place of his vanished inheritance, has taken with him, like a piece of his father's shroud, the breath of the parental home. I am unfolding my piece of heritage, and at once there rise to my nose the odours of my old home. My ears begin to sound with the clamour of the shop and the melodies that the rabbi sang on holidays. From every corner a shadow thrusts out, and no sooner do I touch it than it pulls me Into a dancing circle with other shadows. They jostle one another, prod me in the back, grasp me by the hands, the feet, until all of them together fall upon me like a host of humming flies on a hot day. I do not know where to take refuge from them. And so, just once, I want very much to wrest from the darkness a day, an hour, a moment belonging to my vanished home. But how does one bring back to life such a moment? Dear God, it is so hard to draw out a fragment of bygone life from fleshless memories! And what if they should flicker out, my lean memories, and die away together with me? I want to rescue them. I recall that you, my faithful friend, have often in affection begged me to tell you about my life in the time before you knew me. So I am writing for you.